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310 Notes55. Sigmund Freud, ‘‘Hysterical Phantasies and Their Relation to Bisexuality’’ (1908),in SE 9:166.56. ‘‘What is meant by this are occurrences in the body that show themselves and inthis self-showing as such ‘indicate’ something that does not show itself. When such occurrencesemerge, their self-showing coincides with the objective presence [Vorhandensein] ofdisturbances that do not show themselves. Appearance, as the appearance ‘of something,’thus precisely does not mean that something shows itself; rather, it means that somethingmakes itself known which does not show itself. It makes itself known through somethingthat does show itself. Appearing is a not showing itself. But this ‘not’ must by no means beconfused with the privative not which determines the structure of semblance.’’ MartinHeidegger, Being and Time, trans. Joan Stambaugh (1927; Albany: State University of NewYork Press, 1996), 25–26.57. I recall, briefly, that ‘‘cause’’ is not to be confused with ‘‘motive,’’ nor with ‘‘represseddesire.’’ The cause, said Lacan, ‘‘is what’s off ’’ (‘‘c’est ce qui cloche’’) and that ofwhich the objet a manifests the pregnance, as ‘‘object-cause’’ of desire.58. See, notably, Interpretation, 313–14, 340–44.59. ‘‘Pan, masculine noun. 1. Large part of a dress, cloak, or dress coat. ‘D’un des pansde sa robe il couvre son visage / A son mauvais destin en aveugle obéit.’ ...2. Hunting term. Asnare made of cord that one sets in a forest. Pan de rets, a snare used to catch large animals...7. Á pan, tout à pan, phrase used in some French provinces meaning ‘‘full up to thebrim’’ (Littré).’’ The etymological origin of the word is not pagina, as Furetière thought,but pannus, which means a torn or tattered part of a surface.60. Roland Barthes, Camera Lucida: Reflections on Photography, trans. Richard Howard(New York: Hill and Wang, 1981), dedication page and 20–21, 23.61. Ibid., 45.62. Ibid., 26.63. Ibid., 76–77 [translation altered].64. Ibid., 77.65. Meyer Schapiro, ‘‘On Some Problems in the Semiotics of Visual Art: Field andVehicle in Image-Signs’’ (1969), in Theory and Philosophy of Art: Style, Artist, and Society(New York: George Braziller, 1994), 1–32.66. Ibid., 26.67. In a recent book, Jean-Claude Bonne greatly extends the scope of the ‘‘nonmimeticelements of the iconic sign’’ and at the same time considerably increases their analyticprecision, showing, using the example of the tympanum at Conques, how they function—and how they ‘‘establish parameters’’ for the smallest units of a figurative ensemble. SeeJean-Claude Bonne, L’Art roman de face et de profil: Le Tympan de Conques (Paris: Le Sycomore,1984).68. Marcel Proust, A la recherche du temps perdu, 3:33:73–74.69. Ibid., 375.70. Ibid.71. Ibid., 377–78.72. I owe these two phrases (‘‘trait supplémentaire’’; ‘‘indicateur de manque’’) to LouisMarin (discussion at the colloquium in Urbino).73. See Hubert Damisch, Théorie du nuage: Pour une histoire de la peinture (Paris: LeSeuil, 1972), 186.74. Lacan, Four Fundamental Concepts, 89 and, more generally, 67–119.